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Ulrike Gossarth - Were I Made Of Matter, I Would Color
Sternberg Press 2014 ISBN 9783956790683 Acqn 23988
Hb 19x25cm 352pp 91ills 77col 28

Edited by Sabine Folie, Ilse Lafer
Texts by Mieke Bal, Rainer Borgemeister, Sabine Folie, Michael Glasmeier, Ulrike Grossarth,
Dietrich Karner, Elliot R. Wolfson

This book is published on occasion of Ulrike Grossarths eponymous retrospective at the Generali
Foundation in Vienna. Both the book and the exhibition trace the evolution of Gossarths practice,
with a particular emphasis on her training as a dancer in the 1970s, to draw connections between
the early years with her sculptural settings and actions and her most recent work, which engages
with history more generally.

In her contributing essay, Ulrike Gossarth states that the titleWere I Made of Matter, I Would
Coloris a counter-model to the fundamental Descartian formula I think therefore I am, a
position which exists between consciousness and disembodiment, in a state of incompleteness.
Rainer Borgemeister discusses the artists actions from 1978 to 1987, which were preceded by
her critical engagement with modern dance. Further contributions from Mieke Bal, Michael
Glasmeier, and Elliot R. Wolfson discuss Grossarths practice in relation to history, the body, and
polymorphism.
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William Kentridge - Secondhand Reading
Fourthwall Books 2014 ISBN 9780992226312 Acqn 23645
Hb 21x29cm 800pp 800col ills 61

Secondhand Reading began life as a film constructed from a succession of drawings made by
William Kentridge (born 1955) in 2013, on the pages of old books. Conceived as a kind of
secondhand reading in which books are translated into a filming of books, it is both a narrative--it
begins at the beginning and will eventually get to the end--and an acknowledgment of the
necessity of repetition, inconsistency and the illogical. One of today's most pre-eminent and
popular artists, Kentridge has made many flipbooks and book-length works that attest to his
longstanding interest not only in film (he has been making animated films for two decades) but
also in the relationship between drawing, photography and filmmaking. At 800 pages,
Secondhand Reading is by far his most ambitious volume. An exquisitely produced publication, it
boasts a robust French-fold dust jacket.
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George Herms - The River Book. 2 Vols + DVD
Hamilton Press 2014 ISBN 9780615953915 Acqn 23918
Hb 22x28cm 408pp 398ills 154col 66.50

George Herms: The River Book is the first-ever comprehensive publication on acclaimed and
pivotal California assemblage artist George Herms (born 1935). The handsome, two-volume
slipcased book covers his earliest works from the 1960s, through his influential assemblages from
the 1970s to today, as well as his work on such films as Easy Rider, his set designs for poet and
playwright Michael McClure and dancer/choreographer Fred Herko, and his fascinating
collaborations with, among others, Diane di Prima and Wallace Berman, for his LOVE Press
series of hand-printed books. Interspersed throughout are comments by Herms on various works
and on his creative ethos. Also included is a trove of never-before-seen archival photographs of
Herms' friends, such as Wallace and Tosh Berman, Fred Herko, Diane di Prima, Kirby Doyle and
Ray Johnson, as well as of Herms himself. A bonus DVD showcases the entirety of Herms' opera
The Artist's Life. Renowned art critic Dave Hickey provides an insightful look at the artist and his
milieu, and the artist himself offers witty and informative text throughout. This is truly an essential
book for anyone interested in California art, the Beats, avant-garde theater and film, and fine-art
printing.
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Andrea Bowers
Pomona College 2014 ISBN 9780985625139 Acqn 23927
Pb 20x28cm 184pp 182ills 170col 27.95

This publication complements the exhibition Andrea Bowers: #sweetjane at the Pomona College
Museum of Art and the Pitzer College Art Galleries and represents an overview of the artist's
work since 2006. It highlights Bowers' (born 1965) commitment to merging art and social activism
with a focus on political and environmental issues. Grounded in the legacy of feminist art, Bowers'
socially engaged work combines a hyper-conceptual and formalist approach with raw and
uncompromising content. This publication weaves together multiple strands of the artist's practice
to foreground her incisive vision, activism and dedication to social justice. Andrea Bowers:
#sweetjane, the exhibition of the Los Angeles-based artist's most recent body of work, examined
the 2012 Steubenville, Ohio, high-school rape case, the subsequent trial and media and activist
reactions. Edited by Rebecca McGrew, Ciara Ennis. Introduction by Rebecca McGrew. Text by
Maria Elena Buszek, Peter Kalb. Interview by Ciara Ennis.
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Daniel Joseph Martinez - The Report Of My Death Is An Exaggeration
Roberts & Tilton 2014 ISBN 9780991488902 Acqn 23928
Hb 31x31cm 68pp 76col ills 28

As interpreted by Michel Foucault, Das Narrenschiff (The Ship of Fools), a fifteenth-century satire
by Sebastian Brant, imagines a world in which knowledge belongs squarely in the realm of
madness, useful only to those who would debate idly and apply nothing to experience. Artist
Daniel Joseph Martinez (born 1957) has recognized the relevance of this allegory to present
times, and through text paintings, photographs and sculptures, he has traced contemporary Los
Angeles onto Foucaults conception of Narrenschiff. Inspired by bus rides observing his fellow
passengers, Martinez conceived of four narratives that explore a modern kind of knowledge-
based perversity. The Report of My Death Is an Exaggeration, which documents Martinezs
installation of these works at Roberts & Tilton in Culver City, California, also features an essay by
art historian, critic and curator Juli Carson.
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Sarah Sze At The Fabric Workshop And Museum
The Fabric Workshop and Museum 2014 ISBN 9780983631712 Acqn 23930
Hb 30x32cm 80pp 28col ills 31.50

This catalogue accompanies an exhibition of a new work by Sarah Sze (born 1969) at The Fabric
Workshop and Museum in Philadelphia. Sze's immense and intricate site-specific works are akin
to drawings in space, manipulating architectural spaces to profoundly affect the way they are
viewed. This work was installed on three floors of the museum, virally traversing the exhibition
spaces and creating a narrative that unfolds as viewers navigate the galleries and experience
Sze's reflections on time, exploration of movement and investigation of materials. Each gallery
floor presents a singular experience, yet viewing all three spaces is cumulative, akin to
experiencing separate acts in a theatrical production. The catalogue illustrates multiple views of
each gallery floor. Along with essays by Jonathan Gilmore and Jeffery Kastner, this volume
includes a 2011 essay on Sze by the late philosopher and art critic Arthur C. Danto.
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Dirk Skreber - Currents 36
Milwaukee Art Museum 2014 ISBN 9781938885037 Acqn 23931
Pb 20x31cm 37col ills 21

German artist Dirk Skreber (born 1961) depicts natural disasters, catastrophic events and
ominous scenes of vague but impending danger, but with a calm detachment that infuses his
work with a peculiar tension. He has emerged as a prominent contemporary artist who explores
seemingly contradictory ideas such as abstraction and figuration, beauty and calamity, through
paintings, sculptures and video. His subjects reveal his fascination with the process by which
everyday scenery and forms are transformed and take on a separate existence. There are aerial
views of buildings submerged in floodwaters and scenes of cars crushed after accidents--a
recurring image for Skreber in all three media. This fully illustrated catalogue features a carefully
considered essay by Will Heinrich, an interview with the artist and exhibition installation
photographs.
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Charles Gaines - Gridwork 1974-1989
Studio Museum Harlem 2014 ISBN 9780942949407 Acqn 23935
Hb 22x27cm 168pp 170ills 100col 35

Widely regarded as one of the leading exponents of postminimalist art in the late 1970s, Charles
Gaines (born 1944) is known primarily for his photographs, drawings and works on paper that
investigate systems, cognition and language. Considered against the backdrop of the Black Arts
Movement of the 1970s and the rise of multiculturalism in the 1980s, the works in Charles
Gaines: Gridwork 1974-1989 are radical gestures. Eschewing overt discussions of race, they take
a detached approach to identity that exemplifies Gaines' determination to transcend the
conversations of his time and create new paths. Charles Gaines: Gridwork 1974-1989 gathers
significant examples from several of the artist's most important series, including 75 key works
from the mid-1970s through the late 1980s. It features drawings and photographs from public and
private collections--some of which were previously considered lost--and essays by leading
scholars and curators. Edited by Naima J. Keith. Foreword by Thelma Golden. Text by Courtney
J. Martin, Anne Ellegood, Howard Singerman, Ellen Tani, Malik Gaines, Bennett Simpson, Abbe
Schriber, Jamillah James.


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Moyra Davey - Burn The Diaries
ICA Philadelphia 2014 ISBN 9780985337728 Acqn 23939
Pb 16x21cm 104pp 37ills 36col 18.95

In the oeuvre of New York artist Moyra Davey (born 1958), literature and writing are as significant
as photography, film and video. In her latest text, Burn the Diaries, Davey considers the work of
French playwright and political activist Jean Genet, while examining fugitive moments from her
own life. An essay by her childhood friend and reading companion Alison Strayer, written in
response, reflects on Davey's themes. The publication is part of a group of new works--also
including photographs, a film and an installation of her signature mailers, which Davey sends to
family, friends and acquaintances--that illuminate the relationship between image and language.
This volume can be read both as an artist's book and a catalogue to accompany the exhibition at
mumok, Vienna, and the ICA, Philadelphia, in 2014.
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Jason Middlebrook - My Landscape
MASS MoCA 2014 ISBN 9780982991442 Acqn 23940
Hb 21x30cm 80pp 64col ills 26.50

Jason Middlebrook: My Landscape documents the American sculptor and painters exhibition at
the Massachusetts Museum of Contemporary Art, with spectacular installation shots and
individual photos of his colourful abstract paintings on hardwood planks, and a major site-specific
sculpture--a working fountain suspended from the museums rafters--as well as large-scale works
on paper and a wall drawing. Texts by Susan Cross, MASS MoCA curator, Cary Levine,
Professor of Art History at the University of North Carolina, Chapel Hill, and Carter Foster,
Curator of Drawings at the Whitney Museum of American Art, shed light on three major facets of
Middlebrooks diverse practice and their relationship to one another. The only major monograph
available on the artist, this volume gives fresh insight into Middlebrooks work and motivations,
from the important role nature plays in his art to his preoccupations with time and place and his
explorations of both abstraction and representational imagery.
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April Gornik Drawings
FigureGround Press 2014 ISBN 9781938922558 Acqn 23943
Hb 24x29cm 232pp 125ills 2col 35

April Gornik: Drawings is an extensive compilation of charcoal drawings done by Gornik (born
1953) since 1984. Lush and wide-ranging in scope and subject, these landscapes call out the wild
and the cultivated, from the desert to the forest to the sea, and show both the progress and
consistency in her evocative approach to drawing. As she has said, Charcoal drawings look so
unlike anything else in the world, they have their own light, their own density. Contributions
include essays by Steve Martin and artist Archie Rand; a fascinating interview with the artist,
conducted by Lawrence Weschler, about her approach to her studio practice and her life; and a
musical offering by composer Bruce Wolosoff, who has written a stunning work for piano and
cello inspired by one of Gorniks drawings (available with purchase through iTunes). Gorniks art
has been the subject of solo exhibitions at the Pennsylvania Academy of the Fine Arts (1998);
Guild Hall Museum (1994); the Frederick R. Weisman Museum of Art (1993); and the Parrish Art
Museum (1988). She received a Lifetime Achievement Award from Guild Hall Museum in 2003. A
mid-career retrospective began at the Neuberger Museum of Art in Purchase, NY, in fall 2004,
and travelled to the Art Gallery of Nova Scotia, the Sheldon Memorial Art Gallery in Nebraska and
the Allen Memorial Art Museum in Oberlin, Ohio.
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Soulages In America
Dominique Levy Gallery 2014 ISBN 9780986060625 Acqn 23950
Hb 19x24cm 144pp 58ills 16col 28

In 1948, America came knocking unexpectedly at the door of Pierre Soulages (born 1919). James
Johnson Sweeney, then curator at MoMA and future director of the Guggenheim Museum, had
heard talk in Paris of a painter who worked in black with broad brushstrokes. He wanted to find
out more. Thus began the success story of a young European painter in America. His thriving
career during the 1950s to the mid-1970s consisted of shows at Betty Parsons and Sidney Janis,
and exhibitions at the Phillips Collection and the Guggenheim. Hollywood celebrities like Otto
Preminger, Charles Laughton and Alfred Hitchcock collected his work, which today may be found
in the collections of more than 40 American museums. In 1954, Soulages joined the Kootz
Gallery; when it closed 12 years later, Soulages found himself without American representation,
and continued his career back in Europe, where he is among the most revered painters of his
generation. Soulages in America contains a 2012 interview with the artist and his wife; a wealth of
documentary material, including letters from Alfred Barr, Leo Castelli and Sam Kootz;
correspondence from artists such as Robert Motherwell and Helen Frankenthaler; plus installation
photographs and other archival documents. Edited and with interview by Philippe Ungar. Preface
by Harry Cooper. Text by Sean Sweeney. Afterword by Dominique Lvy.
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Alexander The Great - The Iolas Gallery, 1955-1987
Paul Kasmin Gallery 2014 ISBN 9780988661325 Acqn 23951
Pb 20x27cm 200pp 115ills 70col 35

Among his many facets, Alexander Iolas (19071987) is recognized as a great champion of
Surrealism in America, and for mounting Andy Warhols first gallery exhibition and Ed Ruschas
first solo show in New York. A fantastic character and passionate art lover, Iolas built deep
personal relationships and facilitated intercontinental connections among artists, gallerists and
collectors via his galleries in Athens, Geneva, Madrid, Milan, New York and Paris. Noted for the
pivotal role he played in the building of the Menil Collection in Houston, Iolas operated according
to his own taste and discerning eye. This fully illustrated publication includes archival
photographs and installation views documenting the artworks, movements, personalities and
friendships spanning critical periods in the art of the twentieth century. It includes work by Giorgio
de Chirico, William Copley, Joseph Cornell, Max Ernst, Lucio Fontana, Yves Klein, Ren
Magritte, Ed Ruscha, Niki de Saint Phalle, Takis, Dorothea Tanning, Paul Thek and Andy Warhol.
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Cezanne - Site/Non-Site
Museo Thyssen-Bornemisza 2014 ISBN 9788415113508 Acqn 23952
Pb 22x28cm 200pp 140ills 117col 51

In 1969, the artist Robert Smithson proposed a new interpretation of the work of Paul Czanne
(1839-1906). In Smithson's view, Czanne's painting had been distorted by the Cubists, reduced
to an almost abstract play of forms. In contrast to this formalist simplification, Smithson underlined
the need to recover the physical reference in Czanne's work, his strong link to certain places in
Provence. Published on the occasion of a major exhibition on Czanne, Site/Non-Site celebrates
the work of a foundational figure in late nineteenth and early twentieth-century painting who is
widely regarded as the father of modern art. The term "site/non-site" evokes a pair of concepts
that were coined by Smithson in connection with his own oeuvre and explores the dialectic
between outdoor and studio practice, which Czanne cultivated throughout his career. Landscape
is the dominant genre in Czanne's work, identified with the practice of plein-air painting. But
unlike his Impressionist contemporaries, he also attaches decisive importance to a genre
characteristic of the studio: still life. This publication includes a chronology of Czanne's life as
well as a text from Guillermo Solana in which he traces the development of Czanne's style and
motifs throughout the artist's career.
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Tony Conrad - Doing the City + DVD
80WSE Press 2014 ISBN 9781938922596 Acqn 23956
Pb 28x24cm 80pp 93ills 69col 23.50

Tony Conrad: Doing the City is the first monograph printed to cover this pioneering film, video,
music and installation artist's oeuvre of the last 50 years. The copiously illustrated, full-colour
catalogue includes essays by noted Columbia University art historian and Conrad scholar
Branden Joseph; Whitney Museum Performance Curator and 2012 Whitney Biennial Curator Jay
Sanders; filmmaker and Anthology Film Archives Curator Andrew Lampert; Swiss digital archivist
Tabea Lurke; as well as an in-depth interview between Conrad and exhibition curator Michael
Cohen examining Conrad's life and career. The catalogue also includes a bonus DVD disc, Tony
Conrad: Live at 80wse. This disc includes live performances of Conrad's classic minimalist works
"Chant" and "Early Minimalism: May 1965," as well as a lengthy video conversation with Conrad
as he walks through his old haunts in the Lower East Side. This volume is a distillation,
documentation and expansion of the acclaimed exhibition and series of concerts and educational
lectures of the same name which was held at NYU's 80WSE Gallery in 2012. Edited by Michael
Cohen. Text by Tony Conrad, Branden Joseph, Andrew Lampert, Tabea Lurke, Jay Sanders.
Interview by Michael Cohen.
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What Nerve!
RISD Museum of Art 2014 ISBN 9781938922466 Acqn 23873
Pb 22x26cm 368pp 300col ills 27.95

What Nerve! reveals a hidden history of American figurative painting, sculpture and popular
imagery. It documents and/or restages four installations, spaces or happenings, in Chicago, San
Francisco, Detroit and Providence, which were crucial to the development of figurative art in the
United States. Several of the better-known artists in What Nerve! have been the subject of
significant exhibitions or publications, but this is the first major volume to focus on the broader
impact of figurative art to connect artists and collectives from different generations and regions of
the country. These are: from Chicago, the Hairy Who (James Falconer, Art Green, Gladys
Nilsson, Jim Nutt, Suellen Rocca, Karl Wirsum); from California, Funk artists (Jeremy Anderson,
Robert Arneson, Roy De Forest, Robert Hudson, Ken Price, Peter Saul, Peter Voulkos, William T.
Wiley); from Detroit, Destroy All Monsters (Mike Kelley, Cary Loren, Niagara, Jim Shaw); and
from Providence, Forcefield (Mat Brinkman, Jim Drain, Leif Goldberg, Ara Peterson). Created in
collaboration with artists from these groups, the historical moments at the core of What Nerve!
are linked by work from six artists who profoundly influenced or were influenced by the groups:
William Copley, Jack Kirby, Elizabeth Murray, Gary Panter, Christina Ramberg and H.C.
Westermann. Featuring paintings, sculptures, drawings, prints, photographs and videos, as well
as ephemera, wallpaper and other materials used in the reconstructed installations, the book and
exhibition will broaden public exposure to the scope of this influential history. The exuberance,
humour and politics of these artworks remain powerfully resonant. Much of the work in this book,
including installation photos, exhibition ephemera and correspondence, is published for the first
time. What Nerve! represents the first historical examination of the circumstances, relationships
and works of an increasingly important lineage of American artists.
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Edgewise - A Picture of Cookie Mueller
Bbooks Verlag 2014 ISBN 9783942214209 Acqn 23894
Pb 15x23cm 336pp 230ills 17.50

Cookie Mueller (19491989) was a firecracker, a cult figure, a wild child, a writer, a go-go dancer,
a mother and a queer icon. A child of suburban 1950s Maryland, she made her name first as an
actress in the films of John Waters, and then as an art critic and columnist, a writer of hilarious
stories and a maven of New Yorks downtown art world. Edgewise tells the story of Cookies life
through an oral history composed of more than 80 interviews with the people who knew her,
including John Waters, Mink Stole, Gary Indiana, Sharon Niesp, Max Mueller, Linda Yablonsky,
Richard Hell, Amos Poe and Raymond Foye. The contributors take us from the late-1960s artist
communes of Baltimore to 1970s Provincetown and New York, through 1980s Berlin and
Positano. Along with the text, Edgewise includes artwork, unpublished photographs and archival
material and photography by Philip-Lorca diCorcia, David Armstrong, Robert Mapplethorpe, Peter
Hujar and others.
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Gerhard Richter Books
Gregory R. Miller & Company 2014 ISBN 9781941366011 Acqn 23917
Pb 15x21cm 122pp 24col ills 17.50

Gerhard Richter (born 1932) is predominantly known for his paintings and drawings, which strike
a playful balance between photo-realism and abstraction, while at once delving into often
controversial political commentary. His works have explored a multitude of media, from photo-
based, monochrome and brightly coloured paintings to ink-doused papers and thin, multicoloured
strips of pure pattern. Beyond his artistic works, and particularly in recent years, Richter has
published extensively on his vision of art and artistic values: in letters, interviews, public
statements, excerpts and articles, Richter has established himself as a brilliant advocate of
contemporary painting. Richter has also increasingly explored the possibilities of the book as
medium in a series of extraordinary artist's books. Gerhard Richter: Books takes an in-depth look
at his work in this medium. It features a book-length interview with the artist by internationally
renowned art critic and historian Hans Ulrich Obrist, who walks us through the Richter archive
and discusses the work with the artist himself, affording the reader an entirely new perspective on
his works. The book also includes a new text by Kunstmuseum Winterthur director Dieter
Schwarz.
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Konstantin Trubkovich - Leap Second
Osmos 2014 ISBN 9780988340480 Acqn 23926
Hb 19x27cm 160pp col ills 45.50

This first monograph on the oeuvre of Kon Trubkovich (born 1979) surveys the Russian artist's
career in colour reproductions and in-depth critical discussion, traversing the period from his first
museum exhibition in 2006 to the present day. His works delve into themes of rebellion, memory,
imprisonment and perception through a wide variety of media, including painting, drawing,
photography and sculpture. Trubkovich's multimedia creations are generally based upon film
stills, sourced from videos that range from prison footage to found movie clips and home videos.
Extended across a series, these isolated fragments, generally distorted or grainy, evoke human
processes of memorialization and psychological narrative. The artist's solo exhibitions, all of
which are touched upon here, include No Country for Old Men MoMA (PS1), Almost Nowhere,
Signali (both Marianne Boesky) and Leap Second (OHWOW).

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Robert Lehman Lectures On Contemporary Art No. 5
DIA Center For The Arts 2014 ISBN 9780944521809 Acqn 23953
Pb 13x20cm 176pp 57ills 12col 11.95

From 1992 to 2004, Dia Art Foundation presented the Robert Lehman Lectures on Contemporary
Art, in which a distinguished array of scholars, critics and cultural historians engaged in cross-
disciplinary critical discourse around Dia's exhibition program. The lectures were subsequently
collected into a related series of publications, providing a valuable record and extending the
debate on contemporary artistic practice and theory. This fifth and final volume focuses on
analyses of the work of internationally recognized artists Jo Baer, Pierre Huyghe, Vera Lutter,
Gerhard Richter, Rosemarie Trockel and Robert Whitman.
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Michael Auder - Stories, Myths, Ironies, And Other Songs: Conceived, Directed, Edited,
And Produced By M. Auder
Sternberg Press 2014 ISBN 9783956790232 Acqn 23989
Pb 20x30cm 300pp 550ills 500col 31

Since his arrival in New York in 1969, the French artist Michel Auder (b.1945, Soissons, France)
has authored more than five hundred video works that chart five decades of the mediums history.
Employing new video formats as they become available, many of which have quickly fallen into
obsolescence, Auder has prolifically produced short feature films as well as video installations
and photography that transgress genres, gleaning the fields of art history, literature, commercial
television and experimental cinema. At once poetic and critical, cruel and confessional, Auders
casually virtuosic oeuvre continues to disrupt traditional perceptual habits of moviegoers and art
audiences alike, subverting notions of filmic narrative and process.
This new monograph includes Twenty Film-Poems for M. Auder, a series of mini-essays on
selected videos by Quinn Latimer, an American poet and critic based in Basel, as well as Portrait
of the Marauder, an extensive interview with the artist by Adam Szymczyk, director of Kunsthalle
Basel. The book, which also includes a catalogue raisonne of Auders video works, was designed
by Julia Born, a Swiss graphic designer who lives and works in Berlin.
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Richard Slee - Means Of Production
Tullie House Museum 2014 ISBN 9781908971333 Acqn 23990
Hb 22x28cm 108pp 43ills 35col 25

Richard Slee (born Carlisle, 1946) has built a reputation as one of Britains most important
contemporary ceramic artists. His work challenges conventional notions of ceramic art and
demonstrates the fluid boundaries of 21st century ceramic practice. Slees work is celebrated as
art and craft as he remains committed to craft processes and the domestic environment.
Slees one-off pieces demonstrate his peerless ability to create impeccable super shiny ceramics.
His pieces flawlessly integrate sourced materials and readymades from DIY stores, toyshops and
sports shops.


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Robert Seydel - A Picture Is Always A Book
Siglio 2014 ISBN 9781938221064 Acqn 23920
Hb 15x22cm 112pp 73col ills 25

Artist and writer Robert Seydel (19602011) often used personas and fictional constructs in a
vast body of work that incorporated collage, drawing, photography and writing. His primary alter
ego Ruth Greisman--banker by day, artist by night, friend of Marcel Duchamp and Joseph
Cornell--lived in Queens, caring for her shell-shocked brother, a veteran of WWI. This book
collects Ruths journal pages, typed on paper purloined from old photo albums and adorned with
drawings, narrating Ruths inner life and the tenuous creation of self. She says, Ill invent who I
am, against what is. My time and name: a Queens of the mind. All of Ruths works--collages,
journal pages and drawings--were purportedly discovered buried in boxes of miscellany in the
Joseph Cornell Study Center at the Smithsonians Archives of American Art and in the family
garage. A definitive selection will be exhibited at the Neilson Library, Smith College.
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Arthur Sze And Susan York - The Unfolding Centre
Radius Books 2014 ISBN 9781934435694 Acqn 23993
Hb 30x38cm 96pp 34ills 35

The Unfolding Center is a collaboration between visual artist Susan York and poet Arthur Sze.
For this project, York has created 11 diptychs comprised of 22 densely layered graphite drawings,
which are interleaved with Szes extended polyvocal poem.


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Wolfgang Oelze - The Qualm
Revolver Publishing by VVV 2014 ISBN 9783957630957 Acqn 23839
Pb 24x32cm 96pp 70col ills 19.50

"Motifs of inclusion and smoke are recurring visual elements in the photo and video work of
Wolfgang Oelze. They characterize how he visually addresses voids, labyrinths, bunkers,
mounds, quarries and catacombs, or fuzzy spots in various spaces, which first come across like
places of memory without disclosing the contents of the memory. In some places, slender plumes
of smoke arise without a visible source of fire, spreading like ground mist in the scattered sunlight
like local ectoplasms, apparitions in haunted locations that invoke no wars, acts of violence, or
sacrificial rituals. [....] They are the effects of the formlessness that correspond to ones own
unconscious and a respect for the power of this unconscious. The formless is exterior, in the
face of the sea or threatening sky; the formless is interior, like under the glass bell jar, which only
allows the smoke to escape outside. But where does the formless in the sea, clouds, or woods
concur with the formless in oneself, a feeling of anguish or qualm? [In German, the word Qualm
(smoke) is closely related etymologically to the word Qual (anguish)]. What smoke passes from
inside to outside, from outside to inside? Why do accidents and the rising billows of smoke
signalling and surrounding them have such a power of attraction? Thomas Macho Spellbound
by the Formless, (from the catalogue text).

With texts by Jens Asthoff and Thomas Macho.
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The Very Last Judgment Triptych
Revolver Publishing by VVV 2014 ISBN 9783957630971 Acqn 23845
Pb 14x20cm 248pp 20col ills 19.95

In The Very Last Judgement Triptych, the city and the world once again face final judgment.
Unlike Boschs Last Judgment Triptych, its topography is a radically secular one. The spatial
coordinates of contemporary cosmopolitans, which The Very Last Judgement Triptych is intended
to bring to mind, are no longer the Creation, Heaven and Hell, but the city, the state and the
Empire. Is expulsion the faith of the Multitude? Anti-gentrification activists squat buildings, the
Occupy movement occupies places and parks; but the last image we see is the image of their
expulsion. Does it have to be like this? How can a more just world come into existence if we have
lost faith in the prophecy of a Judgment Day? This book documents the exhibition in the Academy
of Fine Arts Vienna with works and texts by Alice Creischer, Andreas Siekmann, Ina Wudtke,
Marua Sagadin, Herman Asselberghs and Dieter Lesage.
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Secundino Hernandez
Victoria Miro Gallery 2014 ISBN 9780992709235 Acqn 23997
Pb 18x24cm 64pp 29col ills 18.75

Hernndez's diverse and energetic painting features intricately structured compositions that mix
strong linear elements and rich bursts of colour. Some canvases feature abstracted, atomised
forms, while others have more densely overlaid imagery in which it is possible to pick out
figurative elements.
His paintings deftly combine representation and abstraction, linear draughtsmanship and
colouration, minimalism and gesturalism. Over the course of his career Hernndez has mixed
diverse references: a physicality that recalls Action Painting, the shorthand figuration of cartoons,
and passages evoking painterly precedents ranging from El Greco to Giacometti, Velzquez to
Picabia. This stylistic multiplicity grows out of Hernndez's detailed and informed knowledge of
art history. While his references are broad he has, in recent years, developed a specific
engagement with the work of old and modern masters from his native country, Spain, as a way of
getting in touch with his personal and artistic roots.
In keeping with the breadth of his influences, Hernndez employs a variety of techniques
including washing, scraping, and working directly from paint tubes. He has a meticulous and
process-oriented approach to making work, and his paintings openly display the triumphs and
struggles of the artist's practice, creating a tension between beauty and destruction.
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Celia Paul
Victoria Miro Gallery 2014 ISBN 9780992709228 Acqn 23998
Hb 22x30cm 70pp 31col ills 25.00

Celia Paul's paintings have an otherworldly, haunting quality. She makes intimate depictions of
people and places she knows well. She has made no commissioned portraits; her portrayals of
people exclusively feature close family members and friends. From 1977-2007 Paul worked on a
series of paintings of her mother, and since then she has concentrated on her four sisters,
especially her sister Kate, as well as a number of portraits of close friends. She has also
produced a large number of evocative self-portraits over the course of her career. As art critic
Laura Cumming has described, 'Paul's paintings aren't so much portraits as poems based on an
intensely empathetic observation.
In addition to her portraits, Paul has made detailed studies of landscapes and interiors, again
focussing on the environment she knows best. She has made numerous studies of her studio,
and has also painted the central London landmarks visible from its windows, including the British
Museum and the BT Tower (previously known as the Post Office Tower). The intimate scale of
these works can be seen as a witty and deliberately feminine response to these iconic buildings.
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Jorinde Voigt - Codification of Intimacy. Works on Niklas Luhmann, Liebe als Passion
Revolver Publishing by VVV 2014 ISBN 9783957631008 Acqn 24001
Pb 30x42cm 184pp 102ills 91col 43.95

Each drawing in the Codification of intimacy is based on a chapter, a passage or a key word that
Voigt has chosen to distil from Niklas Luhmann's Love as Passion (1982). Voigt began her
drawings by first marking those passages in the text that triggered intuitive associations. She then
drew free-form shapes suggested by the literary content and, in turn cut out the outlined shapes,
gilded them, and replaced them into their original positions on the large paper sheets. The artist
then continued to re-work each drawing, using watercolours, pastels and oil crayons. Voigt also
added her own hand-written "notations" that she integrally interpolated into the field of each
drawing. These hand-written notation denote spatial and temporal points, or parameters. Terms
like Speed of Rotation," "Direction," "Egomotion," or "Now" locate, in space, time and even
character, not only the shapes the artist has imagined but also these shapes' relationships and
relative positioning.
The starting point of each Voigt drawing - here, the language of Luhmann's text - is fixed, but
each drawing's development is intentionally unprescribed, fluid and open. The gilded areas in
Voigt's drawings - gold, of course, being symbolic of the sacred and the divine in early Western
(Christian) art - indicate the original shapes, or essential core, that emerge for Voigt as she
begins her drawing and notation process. The shimmering materiality of the gold leaps out from a
drawings overall composition, much of the drawing otherwise spatially empty and schematic. The
drawings, in their "painterliness" are reminiscent of the work of the Modernist painters Wassiliy
Kandinsky and Paul Klee. The presence of strong painterly elements also reflects the artist's
fascination with East Asian art: with, more particularly, the lively coloration, penchant for gilded
surfaces and stylised linear depiction found in the erotic paintings and coloured woodcuts of the
Japanese Edo period (17th-19th century).
Texts: Lisa Sintermann, Jorinde Voigt.
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